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A33
quik flix
Monday, May 9, 2016 www.guardian.co.tt Guardian
CAPTAIN AMERICA: CIVIL WAR
IN 3D (A.A. PG)
11.45AM -- 2.30PM -- 5.30PM & 8.45PM
MR. RIGHT IN 2D (16 YRS. +)
3.00PM & 8.30PM
BARBERSHOP: THE NEXT CUT IN 2D
3.00PM & 8.30PM (PG.13)
THE HUNTSMAN: WINTER'S WAR IN 3D
12.00NOON & 6.00PM (PG.13)
MOTHER'S DAY IN 2D
12.00NOON & 6.00PM (PG.13)
OPENS WEDNESDAY
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• From Page A31
They reinvent them-
selves as phoney hus-
band, wife and daugh-
ter---Dheepan, Yalini and
Illayaal, invisible mendi-
cants of the French wel-
fare state---and Dheepan
gets a publicly funded job
as a caretaker in an
apartment block which
is basically a meeting
place for drug-dealers.
The trio are tense and
terrified, as alien to each
other as they are collec-
tively to the French-
speakers by whom they
are surrounded. They can
survive if they can just
keep their heads down,
but keeping his head
down does not come
easily to Dheepan, this
former revolutionary and
alpha male---though he
comes to see how the role
play of family could easily
become a comfortable
and agreeable reality,
until Yalini gets a job as
housekeeper to the ailing
father of a local gangster,
Brahim (Vincent Rot-
tiers).
Dheepan finds that his
need to be a warrior and
a defender of territory is
transferred intact to the
banlieues. Inexorably, his
vocation for military dis-
cipline, for organisation,
for working undercover
behind enemy lines rises
to the surface---he gets things done,
he works efficiently with machines,
he starts work on trying to repair
the static lift in the tower block.
Much of the film s fascination
lies simply in the everyday lives of
Dheepan and his family, and how
they fabricate normality in the
midst of chaos.
There is a great scene when
Illayaal comes back from school
after a day of being bullied. She
reads aloud an angry, heartwrench-
ing poem about how your life is
nothing without friends. Her
quasi-mother hits her in an
ambiguous rage---rage at her quasi-
child s insubordination and implied
blame, and at the indiscipline of
complaining when it is only by
silence and invisibility that they
can get through this.
Perhaps misguidedly, I wanted
the rest of the film to continue on
this level of subtlety and accessi-
bility. Instead, it rears up in a great
big gangster rage to the generic
level of crime drama, or maybe
crime melodrama, as Dheepan
makes his last stand. Of course it
is handled with flair. Audiard styles
it out, and what style he always
has. (theguardian.com)
'Dheepan, his family fabricate
normality in the midst of chaos'